近年來，英國真相調查暨藝術團隊「法醫建築」，結合藝術重演與多樣化的科技調查手法，提出「調查美學」的觀念，在當代藝術界引起不少關注。調查美學強調「感受力」、「感覺結構」的形成，並且延伸出「超美學」、「超感知」等美學概念。雖然調查美學的觀念仍是法醫建築的自我詮釋，尚難視為具備普遍意義的「美學」，但仍然呈現出當代創作朝向跨領域行動的發展，並凸顯出藝術性研究與調查行動的結合，與過往訴諸於直觀、感性的美學觀念之間的張力。本文首先闡述法醫建築關於調查美學的界定，並且從科技審美以及銜接、拮抗等角度延伸探討。另外，對照近年來臺灣當代藝術研究型創作與調查行動的發展，分析相關趨勢，並且梳理屬於自身的在地脈絡。

In recent years, the British investigative art group Forensic Architecture has attracted attention within the contemporary art field through its concept of “Investigative Aesthetics,” this concept emerges from the integration of reenactment strategies with technological investigative methodologies. Central to this aesthetic are notions of “sensing” and the formation of a “sense-making,” which have been further developed into ideas such as “hyper-aesthetics” and “hyper-aesthesia.” Although “Investigative Aesthetics” is still self-defined by Forensic Architecture and has yet to be widely recognized as a general aesthetic theory, it nevertheless reflects the shift in contemporary artistic practice toward transdisciplinary and research-based art. In particular, it foregrounds the intersection between artistic research and investigative methodologies, revealing a critical tension with earlier aesthetic models focusing on intuition and affect. This article first delineates Forensic Architecture’s theorization of “Investigative Aesthetics” and further discusses with the concepts of techno-aesthetics, connectivity, and antagonism. It then turns to recent developments in research-based art and investigative practices in Taiwan, examining the trajectories and local contexts. Through this comparative lens, the article seeks to contribute to ongoing discussions on the epistemological and aesthetic dimensions of “Art-as-Investigation.”